scholarly journals Aesthetic journeys and media pilgrimages in the contexts of pop culture and the creative industries from and to East Asia

10.32926/10 ◽  
2021 ◽  
Keyword(s):  
East Asia ◽  
Pop Culture ◽  
Creative Industries

scholarly journals Editorial – Fulfilling the purpose of a rich, productive, and successful 2021. And preparing for an as much as possible, definitely “true normal” 2022

2021 ◽  
pp. IX-XVIII
Author(s):  
Maxime Danesin ◽  
Marco Pellitteri
Keyword(s):  
East Asia ◽  
Summer School ◽  
Pop Culture ◽  
Cultural Sociology ◽  
Creative Industries ◽  
The Other ◽  
Good Luck ◽  
The World ◽  
Mixed Feelings ◽  
The Many

Dear readers, students, fellow scholars, welcome to this tenth instalment of Mutual Images Journal, which we have titled “Aesthetic journeys and media pilgrimages in the contexts of pop culture and the creative industries from and to East Asia”, trying to subsume in it the variety of themes the volume hosts.   Audaces fortuna iuvat The Latin adage of this introduction states: “good luck helps the daring ones”. We think this is what happened to us and Mutual Images, both the journal and the association as a whole. We had left 2020 with more than just the proverbial mixed feelings: we were all uncertain and confused about what would and could happen in 2021. We won’t give you a summary of the many facets of what 2020 has been for the world, because each of you knows that all too well. But for MIRA, at least, 2021 was a moment of rally and refocus on what we hold dear: research, publishing, and the careful organisation of workshops and similar events. We rolled up our sleeves as so many people around the world did, and, in our microcosm of transcultural research in the humanities, media, cultural sociology, and area studies — whether supported by universities or independently run — we brought home two very nice workshops and a summer school. One workshop was held in Italy and Spain in November 2020 and the other in Japan in January 2021, although, for obvious reasons, both were technically conducted mainly online; and the summer school took place on-site in China, in June 2021. The two workshops saw [...]

scholarly journals Editorial – Fulfilling the purpose of a rich, productive, and successful 2021. And preparing for an as much as possible, definitely “true normal” 2022

2021 ◽  
pp. IX-XVIII
Author(s):  
Maxime Danesin ◽  
Marco Pellitteri
Keyword(s):  
East Asia ◽  
Summer School ◽  
Pop Culture ◽  
Cultural Sociology ◽  
Creative Industries ◽  
The Other ◽  
Good Luck ◽  
The World ◽  
Mixed Feelings ◽  
The Many

Dear readers, students, fellow scholars, welcome to this tenth instalment of Mutual Images Journal, which we have titled “Aesthetic journeys and media pilgrimages in the contexts of pop culture and the creative industries from and to East Asia”, trying to subsume in it the variety of themes the volume hosts. Audaces fortuna iuvat The Latin adage of this introduction states: “good luck helps the daring ones”. We think this is what happened to us and Mutual Images, both the journal and the association as a whole. We had left 2020 with more than just the proverbial mixed feelings: we were all uncertain and confused about what would and could happen in 2021. We won’t give you a summary of the many facets of what 2020 has been for the world, because each of you knows that all too well. But for MIRA, at least, 2021 was a moment of rally and refocus on what we hold dear: research, publishing, and the careful organisation of workshops and similar events. We rolled up our sleeves as so many people around the world did, and, in our microcosm of transcultural research in the humanities, media, cultural sociology, and area studies — whether supported by universities or independently run — we brought home two very nice workshops and a summer school. One workshop was held in Italy and Spain in November 2020 and the other in Japan in January 2021, although, for obvious reasons, both were technically conducted mainly online; and the summer school took place on-site in China, in June 2021. The two workshops saw [...]

Pop Culture Formations across East Asia

2011 ◽  
Vol 26 (2) ◽  
pp. 335 ◽  
Author(s):  
Doobo Shim ◽  
Ariel Heryanto ◽  
Ubonrat Siriyuvasak
Keyword(s):  
East Asia ◽  
Pop Culture

Creative industries in East Asia

Cities ◽  
2005 ◽  
Vol 22 (2) ◽  
pp. 109-122 ◽  
Author(s):  
Shahid Yusuf ◽  
Kaoru Nabeshima
Keyword(s):  
East Asia ◽  
Creative Industries

scholarly journals Introduction: Creative labour in East Asia

2020 ◽  
Vol 5 (4) ◽  
pp. 347-353
Author(s):  
Jeroen de Kloet ◽  
Jian Lin ◽  
Yiu Fai Chow
Keyword(s):  
East Asia ◽  
Creative Industries ◽  
Creative Work ◽  
Special Issue ◽  
Cultural Economies

In this introduction to this special issue on creative labour in East Asia, we explore how the creative industries discourse, and related debates around creative labour, continue to be haunted by a Eurocentric cum Anglocentric bias. The critical language of this discourse often directs all discussion of “inequality”, “precarity” and “self-exploitation” of creative labour towards a critique of “neoliberalism”, thus running the risk of overlooking different socio-political contexts. We point at the urgency to contextualize and globalize, if not decolonize, creative work studies, including the debates surrounding precarity. This special issue explores the nuanced situations of governance and labour experiences in the cultural economies of East Asia.

scholarly journals #makansiangdubes: Gaining Foreigns’ Affections through Localized Contents

2020 ◽  
Vol 3 (2) ◽  
pp. 87
Author(s):  
Agnes Siwi Purwaning Tyas ◽  
Georgius Benardi Darumukti
Keyword(s):  
Social Media ◽  
Behavioral Responses ◽  
Pop Culture ◽  
Creative Industries ◽  
Nation Branding ◽  
Good Opportunity ◽  
Cultural Arts ◽  
Cultural Impacts ◽  
Internet Media

The effect of Japan nation branding in Indonesia is strong. Indonesian youths and teenagers are attracted to tokusatsu, manga, anime, figures, brands, and J-Pop which make them easily accept and are familiar with pop-culture and kawaii culture from Japan. The development of Japanese creative industries and internet media also reinforce Japanese cultural impacts in Indonesia, especially because Indonesian youths love to spend their pastime accessing social media. Taking this as a good opportunity, Masafumi Ishii, the Japanese Ambassador for Indonesia tries to present the images of Japanese to be closer and accepted by Indonesian youths through #makansiangdubes. Utilizing Instagram @jpnambsindonesia as the platform, Ishii frequently posts his pictures enjoying Indonesian dishes he is eating while making kawaii or cute poses for his followers, holding Japanese and Indonesian cultural arts and brands, and doing his official activities as ambassador. This attracts his followers whose majority are teenagers and youngsters to give likes and leave positive comments to express how they adore his kawaii traits. The methodology adopted signification concepts and semiotics analysis on contents. The analysis on comments explains how the images affect audience’s affective, cognitive, and behavioral responses. Among all comments, affections comprise the majority.

Conclusion

2019 ◽  
pp. 208-214
Author(s):  
Thomas Barker
Keyword(s):  
Pop Culture ◽  
Creative Industries ◽  
Policy Agenda ◽  
Government Officials ◽  
National Cinema ◽  
Track Record ◽  
Career Trajectories

By way of conclusion, this chapter considers the legacies of two dominant modes of thinking about Indonesian cinema. National cinema placed its hopes in artist filmmakers who as the last two decades have shown, does not reflect the career trajectories of contemporary ‘idealist’ filmmakers. Secondly, it considers the more recent ‘creative industries’ policy agenda expanded under the Presidency of Jokowi. Given the track record of government officials and corruption, filmmakers will remain wary of policy and government. It suggests that by understanding cinema as pop culture, and the importance of the market, can we better understand the emergence and development of Indonesian cinema.

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